After three members of a BASE jumping community–a community in which jumpers get themselves out of mountains–get killed, a voice says, “What is this stupid thing they do?” One of the jumpers we follow for seven years gives us a perspective, Thomas, who says, “You jump, you fall. But, no. You wear a wing suit. […]
Although it might seem surprising, there was a time when people said that “Watchmen: Chapter I” by Alan Moore and Dave Gibbons could never be made into a film. It was the Citizen Kane of superhero comics after all with its unique blend of storytelling, critical art and visual creativity which harnessed the potential of
It’s tempting, for the first few episodes of Netflix’s new coming-of-age series “Penelope,” to grumble at what feels like an insufferable tweeness. The show, an eight-part tween riff on “Into the Wild” (right down to a murmured monologue about the novel itself late in the series) co-written and executive produced by mumblecore darling Mark Duplass,
God’s Not Dead: In God We Trust: For those who have just woken up, there is no need to explain the reason why it will be an American election in the immediate future. For better or worse (and let’s be honest, it’s definitely for worse), politics has crept into every sphere of life which has
More recent works of many horror films tend to underestimate the emotional intelligence of their audiences, as they would rather force their metaphors into audiences than leave them with unreconciled issues. Horror needs to have some grayness, some ambiguity and some wrestling as to what it seeks to achieve and what it is about. When
Mean Girls: And just as the last flickers of Barbiemania seem set to extinguish, another bright and beautifully blushing entity gate-crashes the cinema. Enter: The Plastics. The new Mean Girls is not a simple carbon copy of the iconic film released in 2004 simply because it is a sequel to it. It is instead a
“Things Will Be Different” is a story about a brother and sister criminal and their methodology of committing crimes and escaping them through committing time and finally locking up into a farmhouse where the crime is committed and begin to feel as if they are prisoners stuck in a space in time where there is
The Weekend in Taipei poster describes the film as “From the creator of Taken and The Transporter.” Quite another way of saying Luc Besson, who also co-wrote the two smashes with Robert Kamen, is this film’s screenwriter Luc Besson as well. This time however the man’s co-writer is the film’s director George Huang who seems
The documentary concerning the family’s year long trip around the world might have been a positive yet superficial travel blink movie; it might have also been a wailing melodrama, considering what they have to go through. Rather, directors Daniel roher and Edmund Stinson choose to make the inherent drama of such a journey simmer under
Such instances are exceedingly rare, but some films are so polarizing that it becomes important to revisit them after a chasm of time has elapsed for a more objective view. This was the case when I saw Wang Sean’s heart-wrenching coming of age ‘Dìdi’ for the first time at its premiere at Sundance it won
